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Post by max on May 8, 2024 22:39:38 GMT
The resistance has officially launched its counter attack. The real life story is amazing in its daring and audacity and I had loved seeing how the show creators had built up steam before getting to the west end. Had high hopes going in which were dashed pretty quickly. Yes the cast work hard and there are some clever moments buts its a slapstick musical and the matinee I went to most of the dialogue/singing was unintelligible as it was so rushed and babbled. Considering the tiny size of the fortune the stagehands do an amazing job storing all the desks and props and the finale scene staging but that's the only positive and the reason for the one star I gave this in the poll A 45 minute act pulled out for a numbing two and a half hours. Off broadway it may prove a novelty show and given the the play that goes wrong went down well on broadway there momentum for odd comedy shows but can think of safer risks for 13.5 million. I think it's more characterful physicality / physical theatre than slapstick. [Apart from at the end in the 'making of a film within a show' sequence] What I wouldn't have enjoyed is slapstick pratfalls, slapped faces, bits of set that fall apart, pretending to forget lines etc. It told the story without all of those Mischief 'Goes Wrong' or La Navete Bete company attributes. Brillliant in other places, but tiring quite soon, and I'm glad they didn't use them here (though they managed to numb you another way by over-stretch of material). Your mention of The Play That Goes Wrong's Broadway success is interesting as slapstick transcends language and culture barriers ('Mr Bean' wordlessly conquering the world with elements of it in the mix). It's a show the Operation Mincemeat company don't mention in their Broadway email/survey. Perhaps they should, because in scale and the 'company of mates' feel there are similarities in audience appeal. But '...Mincemeat' does have a greater reliance on the words, so they'd be right not to draw to much comfort from that one's success.
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Post by ceebee on May 8, 2024 22:51:12 GMT
This show will never recoup on Broadway and the producers know it.
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Post by ceebee on May 9, 2024 5:24:06 GMT
... but can think of safer risks for 13.5 million. Exactly - Sunset Boulevard, for example.
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Post by craigbowker on May 9, 2024 8:14:23 GMT
My guess (I would love anyone with inside info to chime in):
They and their new producers had a place booked. Producers are getting nervous for some reason and told them they went from a green light to a maybe.
Reasons I think this:
The odd way of announcing the cast change IMMEDIATELY made me think something came undone as solid inside rumours had already said this was a green light for Broadway. The drip drip of new cast and holding out on cast change was a way to buy time. THEY know it would have worked better marketing-wise to announce it all at once.
It's happened before. My Son's A Queer was literally about to LOAD IN TO THEIR THEATRE on Broadway when it got "postponed".
You have to understand that the US theatre industry is much less healthy than the British theatre industry right now. Investors are nervous, not taking risks, things are getting more and more and more expensive. Some of this is legitimate (performers are paid muuuuuch better), some of it isn't. Producers in NY are also much more insular, profit driven, and boys club-y over there. I am sure this show has some champions but someone (or several people) who are key to it happening got cold feet.
I also would not be surprised if there are some disagreements on producers wanting changes being made either to the show or the desired cast. As much as I love this show, it could be slightly tightened and there are one or two people who I would understand if the producers wanted to recast.
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Post by NorthernAlien on May 9, 2024 8:41:00 GMT
I don't know much about the economics of Broadway - other than being aware that show budgets seem to be way higher than here. Why is is such a difference from the West End budget? Is it 'venue hire'? Or something else?
I feel like this would probably be well advised to start at an 'off-Broadway' venue, and, if it goes well, transfer later (a bit like 'Merrily' did?). Would that reduce the initial outlay at all?
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Post by apubleed on May 9, 2024 9:20:26 GMT
I’m sure there a loads of reasons but Broadway salaries and theatre rental is exponentially more expensive in New York than London. It’s always been higher but something has happened especially post COVID where the costs have spiralled and it’s starting to get concerning about how viable the New York market is. But there typically is no shortage of rich investors who are willing to gamble on the likely losses (most shows in New York never recoup).
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Post by thedrowsychaperone on May 9, 2024 9:33:06 GMT
In all the Broadway-chaos yesterday, the news got kind of buried that this social media actually confirmed May 13th as the new cast start date. I know this has been common knowledge, but I think that's the first time it's actually been confirmed by the production itself?
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Post by greatauntedna on May 9, 2024 11:18:51 GMT
Are the standing tickets any good for this? I’d have thought they’d be too far away to get so much from it.
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Post by Being Alive on May 9, 2024 11:20:43 GMT
Are the standing tickets any good for this? I’d have thought they’d be too far away to get so much from it. Have stood right at the back corner of the upper circle and its fine(there's just no room to move in the Fortune at all)
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Post by craigbowker on May 9, 2024 15:07:48 GMT
Salaries are *massively* different. West End principles might make 45k a year. On Broadway it's something like 125k.
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Post by Sam on May 9, 2024 16:22:02 GMT
Christian as main Hester just confirmed.
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Post by paplazaroo on May 10, 2024 11:36:36 GMT
I'd be amazed if there really is any doubt in the Broadway minds; they just want a load of pull quotes to put on the Broadway marketing strategy while capturing more emails for the mailing list. The whole impressive strategy thus far has been about mobilising and motivating a fan group to do the marketing for them, based around the idea that they're 'the little show that could...' and nothing motivates harder than feeling like you're on the side of the underdog. Whoever heads up the Mincemeat marketing team should go into politics.
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Post by stagedoorfan on May 10, 2024 11:50:27 GMT
Are the standing tickets any good for this? I’d have thought they’d be too far away to get so much from it. Would also love to know this...
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Post by mrbarnaby on May 10, 2024 20:39:17 GMT
Are the standing tickets any good for this? I’d have thought they’d be too far away to get so much from it. I bet standing is preferable to any of the seats in this theatre
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Post by benj on May 10, 2024 20:56:19 GMT
It’s a nice, intimate theatre but so uncomfortable! It really needs a full refurbishment. They seem to be doing it bit by bit. I hope they get to the auditorium/seating soon!
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Post by Being Alive on May 10, 2024 21:14:12 GMT
Managed to pick up a standing for cast change tomorrow which is nice!
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Post by BurlyBeaR on May 10, 2024 21:25:39 GMT
I know nothing about this show other than what I’ve read here and seen on the Oliviers. But from that I can’t see it travelling to Broadway successfully.
42 Balloons on the other hand….
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Post by Matt on May 10, 2024 22:00:01 GMT
Saw the show tonight after quite a few months away from it, and this time with a Broadway audience in mind, and honestly they’re not gonna understand a word of it. It’s too fast paced and wordy, and Americans have a hard enough time understanding English people at the best of times.
There was also a few of the die hard fans in, which means a lot of preemptive clapping, laughing and cheering, which ruined lots of moments for me, tbh. Good luck to anyone there tomorrow.
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Post by angelcake on May 10, 2024 22:52:54 GMT
Saw the show tonight after quite a few months away from it, and this time with a Broadway audience in mind, and honestly they’re not gonna understand a word of it. It’s too fast paced and wordy, and Americans have a hard enough time understanding English people at the best of times. There was also a few of the die hard fans in, which means a lot of preemptive clapping, laughing and cheering, which ruined lots of moments for me, tbh. Good luck to anyone there tomorrow. I have to admit I found the mincemeat fan club a little annoying too. It is great that there is so much loyalty and support for the show, but it is quite distracting for other audience members.
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Post by amyja89 on May 10, 2024 22:56:33 GMT
I was a semi regular Wicked attendee in the Kerry Ellis/first Alexia Khadime days, and always avoided any kind of cast changes like the plague. Those fans that seem to want to extend their relationship with any show beyond traditional audience enjoyment always infuriated me. I hope Mincemeat isn’t as unhinged as that era was!
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Post by Paulw on May 10, 2024 23:24:35 GMT
I was a semi regular Wicked attendee in the Kerry Ellis/first Alexia Khadime days, and always avoided any kind of cast changes like the plague. Those fans that seem to want to extend their relationship with any show beyond traditional audience enjoyment always infuriated me. I hope Mincemeat isn’t as unhinged as that era was! I was around during those times and before with Idina and from what I have seen from them they are just as bad but the difference from those days to now is they were more respectful in the theatre then and now it seems to be all about them and they are turning it into a Taylor Swift concert which for some shows is fine but others not! No one should behave in a theatre in a way that lessens others enjoyment of something everyone has paid for
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Post by bonnotonno on May 10, 2024 23:25:55 GMT
Yes I went recently and the constant pre-emptive laughing was getting on my nerves, it felt like the first couple rows were in a competition of how loud they could each laugh. Normally I can appreciate other people finding joy in things, especially at the theatre...but I spent a lot of moments being confused at why people were laughing only for then something to happen which everyone else seemed to know was coming. I loved the show so maybe I'll try again after cast change.
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Post by amyja89 on May 10, 2024 23:29:44 GMT
I was a semi regular Wicked attendee in the Kerry Ellis/first Alexia Khadime days, and always avoided any kind of cast changes like the plague. Those fans that seem to want to extend their relationship with any show beyond traditional audience enjoyment always infuriated me. I hope Mincemeat isn’t as unhinged as that era was! I was around during those times and before with Idina and from what I have seen from them they are just as bad but the difference from those days to now is they were more respectful in the theatre then and now it seems to be all about them and they are turning it into a Taylor Swift concert which for some shows is fine but others not! No one should behave in a theatre in a way that lessens others enjoyment of something everyone has paid for More respectful in the theatre is a fair point really, the toxicity and over the topness at Wicked in those days tended to stick within the inner politics of those fan groups, and various day queue dramas etc. Do you remember the 'Pingate' incident? Incredible times! Those cast change days in particular though, the levels of screaming and hysteria for final Defying Gravity's etc. was always incredibly obnoxious to me. I oddly remember a similar kind of fandom at Jersey Boys around the same time as well? (Sorry, gone off topic I know, back to Mincemeat!...)
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Post by Paulw on May 11, 2024 0:47:04 GMT
I was around during those times and before with Idina and from what I have seen from them they are just as bad but the difference from those days to now is they were more respectful in the theatre then and now it seems to be all about them and they are turning it into a Taylor Swift concert which for some shows is fine but others not! No one should behave in a theatre in a way that lessens others enjoyment of something everyone has paid for More respectful in the theatre is a fair point really, the toxicity and over the topness at Wicked in those days tended to stick within the inner politics of those fan groups, and various day queue dramas etc. Do you remember the 'Pingate' incident? Incredible times! Those cast change days in particular though, the levels of screaming and hysteria for final Defying Gravity's etc. was always incredibly obnoxious to me. I oddly remember a similar kind of fandom at Jersey Boys around the same time as well? (Sorry, gone off topic I know, back to Mincemeat!...) I vaguely remember something about it, I mean there was fun and funny things during that time if you think back to things like tge 3 day sleepover for day seats for Idina’s last show. I was close with a member of the cast during that time and some of the stories were not good! You can get me talking about those days quite easily! They were good times. I think another difference from then to now is the social media and their need to make sure it’s all over it and getting one over on others, I also think that has got it all a bit more co-ordinated than organising things on MSN Messenger! Yes back to Mincemeat, I do hope that it calms down, I was in on Thursday and it did spoil the enjoyment of it in comparison to earlier in this run.
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Post by greenandbrownandblue on May 11, 2024 6:48:00 GMT
I'm seeing it this afternoon, having booked before knowing it's cast change day. I saw it at the Southwark Playhouse in 2022 and loved it, and have been keen to see the West End incarnation. I'm pleased I'll get to see the original cast again, though I hope the 'fandom' don't spoil it. I'm pleased this show has fans, and that it's having so much success, but that shouldn't come at the expense of more general audience members.
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Post by dip on May 11, 2024 8:52:37 GMT
I saw it last night and can only think of one moment where the audience saw the punchline coming - and it's by design IMO.
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Post by iwanttix on May 12, 2024 7:20:35 GMT
Saw the show tonight after quite a few months away from it, and this time with a Broadway audience in mind, and honestly they’re not gonna understand a word of it. It’s too fast paced and wordy, and Americans have a hard enough time understanding English people at the best of times. There was also a few of the die hard fans in, which means a lot of preemptive clapping, laughing and cheering, which ruined lots of moments for me, tbh. Good luck to anyone there tomorrow. I have to admit I found the mincemeat fan club a little annoying too. It is great that there is so much loyalty and support for the show, but it is quite distracting for other audience members. Luckily the 2 times I've been I haven't seen the super fans, but I do tend to get put off by this type of audience. My one and only visit to Heathers was ruined by these overenthusiastic uberfans and if I encountered similar at Mincemeat then I would think twice about going back again.
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Post by greenandbrownandblue on May 12, 2024 8:15:10 GMT
I'm pleased to say yesterday's matinee audience were excellent. Yes, they were enthusiastic with loud applause after every number, but there was no chatter, OTT laughing or 'look at me' moments.
It was a muck-up matinee, which was very well done. I know I didn't spot all the muck-ups, but I did enjoy the covers coming on with the birthday cake.
As for the show, it was brilliant. 'Useful' was a real highlight; Claire-Marie Hall is so good in this.
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Post by capybara on May 12, 2024 13:57:00 GMT
Last night really was an incredible celebration of this talented ensemble, the magic of the show and its passionate fandom. There was emotion - none more so than Jak’s final, tearful Dear Bill and during Useful, when he and Claire thank one another) - but there was also the hilarity and chaos that makes Mincemeat so special.
Having attended the show’s closing nights at Southwark and Riverside Studios, I had some idea what to expect but this cast change performance was another level. From Captain Jewel finally accepting Monty’s handshake, the best-staffed morgue in Britain and the reappearance of an Interesting Man, this was one for the hardcore. There were a couple of patrons who had no idea it was cast change but joined in with the revelry, despite much of it understandably going over their heads!
I can’t wait to see what Spitlip and Jak do next. I hope it’s Broadway with Mincemeat but nothing is ever certain in this industry. I am excited to see the new recruits but I will give it a few months to let them bed into their roles (although with some of them being ‘promoted’ from cover tracks, I have no doubt it will be seamless anyway).
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Post by ncbears on May 12, 2024 22:08:17 GMT
It is possible Mincemeat goes to start at a non-"Broadway" theatre such as St. Ann's Warehouse which has had several UK imports such as Let The Right One In; People Places & Things; Young Vic's Streetcar, and other shows.
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